A “SHORT” AND INCOMPLETE BIOGRAPHY OF HAWKWIND


Those who manage to read through all this may think I am joking with the “short” in the title, but I am not. Trying to be a biographer of an outfit, so turbulent and long lived as Hawkwind borders on impossibility in itself, and it would be a folly to think that one could even be near complete or cover the exact facts in all detail.

ROOTS AND EARLIEST MOVES

The band, now known throughout the rock scene as Hawkwind and in that as one of the great monuments of contemporary music had its humble beginnings in the emerging underground scene of London of the mid- sixties where around 1966/67 later front-man Dave Brock and a guitarist by the name of Mick Slattery met in a electric blues orientated group called “Famous Cure”. Although continuing to perform for a considerable period, Famous Cure remained obscure during its entire existence.
Meeting Bass guitarist John Harrison, who, even being a non drug user himself, had changed his musical ideas towards the psychedelic, proved fateful for Brock and Slattery and the idea for a new, unconventional band was born. Soon the trio was joined by a teenage drummer, Terry Ollis. From their period with Famous Cure Brock and Slattery were already acquainted with Michael “Dik Mik” Davies and Nicholas “Nik” Turner, who had served on and off as roadies for the band. Soon however, enthusiasm and friendship, rather than musical professionalism from any side, caused the pair finding themselves to be full members of the outfit.
Chaos was the rule of those early days and when they managed to get a first gig arranged, in fact they had no set songs to play, so they opted for a lengthy and highly chaotic jam cover of Gram Parson’s “Eight Miles High”. What was worse, in all their disorganization they had even forgotten to give their band a name, a flaw that was corrected by a funny note, calling the thing “Group X” for the moment.
So far, it all seemed like one big freaked out hippie disaster, as there were so many in the psychedelic scene of London in the late 19-sixties, which probably was also the conclusion of most of the audience at their first concert. Group X might have rapidly sunken into oblivion and Hawkwind might have never seen the limelight, had it not been for an eccentric, but influential spectator at the Notting Hill gig, BCC radio announcer John Peel.

RECORD DEAL AND FIRST PRODUCTION

In those days John Peel was a force to be reckoned with in music, able to make and break musical careers. However, with a so unorganized, unreliable and drug soaked phenomenon as Group X, not even he was prepared to run the risk of losing face badly himself. Somehow, his often prophetical vision, had seen enough talent lurking in this new band, that he found it expedient to hint to the concert’s organizer Douglas Smith that it might be worthwhile to try propel the group.
Smith, not an un-influential man himself, had surprisingly little trouble in getting the band signed up with Liberty Records. Probably feeling that they had accidentally fallen upward into paradise the group soon started recording material for their first production. The name Group X was dropped quickly and unceremoniously done away with and replaced by “Hawkwind Zoo” (“Zoo” indicates a certain self-knowledge, as a frigging zoo it still was).With the new confidence of being on the way to a first release “Zoo” was dropped soon, so Hawkwind it would be and still is 41 years later.
An interesting and still unresolved question is where the unusual name “Hawkwind” actually originated from. Most likely answer is that it came from a few of the more unsavory habits of saxophonist Nik Turner, noisily scraping his throat and farthing in public. Some however still insist that it was actually a deduction from a work of Science Fiction writer and later band member Michael Moorcock. Probably only Hawkwind’s grandmaster Dave Brock could finally resolve this question, but as far as my knowledge goes he has declined to do so up to this moment.
Soon a first track for the to-be-released record was finished, “Hurry on Sundown”, still remarkably conventional and basically not so much different from the material that Famous Cure had staged. For Mick Slattery, who in all likeliness had always been looking for having good times and not fame, it was enough and he quit. Slattery was replaced in mid-recording by another old Brock acquaintance, Huw Lloyd Langton. The self-titled record was finished in due time and featured five very-very psychedelic, highly inaccessible tracks, and one more in a more conventional style. Early 1970 the record was finally released.
Hawkwind’s maiden effort was not exactly a commercial success, but the reach of the album was wide enough to get together the core of a cult following, that would soon propel the group to undreamt of heights.


1971 – 1974: GETTING “SPACESHIP HAWKWIND” ON COURSE & COMMERCIAL SUCCESS

With the fist step firmly established, the band set out on a relentless tour de force for the next 3 years. I will from now on refrain from elaborating on every personnel change and every detail as this would lead to a to lengthy epistle, besides that, excellent and detailed information about this period in the band’s existence can be found on more than a score of other sources. I will stick to the main threads, however at the end of this biography I will add an oversight of the bands personnel line up over time as well as a listing of their releases.
From the time of the first release, the band was steadily building up its name, by endless touring, many free gigs, often in places where it was not exactly allowed and squatting their way in at major festivals. Myth now wants it that they performed at the legendary Isle of Wight festival in August 1970. Actually, they did, but uninvited and outside the gate of the main festival. However, with the “anything goes around here” mentality of the time, nobody bothered them and their intrusion turned into a great success, putting them further on the map as a shape of things to come.
Isle of Wight had another important result for the band’s development: A like minded other group from London, the Pink Fairies had the same idea as Hawkwind about using the festival in a non-invited way for own purposes and the two outfits befriended each other there, in the years after often performing together under the name “PinkWind”. The Drug culture surrounding both bands had however become to much for founder member John Harrison who left and was replaced for the next record by Dave Anderson, who had no such problems at all. In the meanwhile Huw Lloyd Langton had gotten into drug problems from the other side, getting caught in a bad trip, contracted from Isle of Wight LSD use, for a prolonged time and due to this also dropping out.
1971 saw the release of Hawkwind’s second album “In search of space”, which in its original package came as a wonderfully designed foldable sleeve accompanied by a booklet, “The Hawkwind log” which laid out the philosophy of the band. One year later it was followed up by “Doremi fasol latido”. Neither of these albums could be called best-sellers, but sales certainly improved compared with the first release. Both albums were clear signs of the changing sound of Hawkwind. Still very psychedelic, general composition of the tracks had gotten much heavier, and from these productions it is easy to understand why nowadays the band is counted with the founding fathers of genres as Metal and Punk.
2 singles in the meanwhile did much to speed the group to commercial success. The first one, “Urban Guerilla” initially looked more like a disaster, meeting the unlucky coincidence of being released directly after an IRA bomb had ripped through an English pub, killing and wounding scores of customers. Even if this led to a ban in the UK on this particular release, it greatly helped the band to get its name known more widely. The second, late 1972 release “Silver Machine” marked the definite breakthrough, hitting the charts all over Europe. Although even in the UK it did not reach No. 1, it certainly elevated Hawkwind to a modest superstar status. (Silver Machine also marked the first contact of the author of this review, then a kid of barely 11, with the music of the band, which resulted in a live long love affair).
Silver Machine did much more, it brought the band money, and as its members were less than interested in luxury lives, it gave them the opportunity to invest in an ambitious project, the 1973 released double live album “Space Ritual”. Up to this day this production is viewed as THE space rock album of all times, - Hawkwind did not invent space rock as some now pretend, but it certainly made it into an adult music genre with this album -. Sleeve design was six ways foldable and artwork of such high quality that I still say that no better cover design has ever been made since-.
The seed of trouble had however also been sown in this period. In the meanwhile bassist Ian “Lemmy” Kilmister, later of eternal Motorhead fame, and brilliant South African multi discipline artist Robert Calvert had in the meanwhile joined up with the band. Together with super-strong willed founder Dave Brock, and rapidly self-conciousness gaining Nik Turner, there were now four dominant personalities in the group, and as even the world itself regularly proves to small for even two leaders, one can imagine what strain such brings on a close knit thing as a rock group.


CONSOLIDATION & TROUBLED YEARS

Following up success has proven difficult for many who initially achieved it, but for the moment it seemed that Hawkwind had no such problem. 1974 saw the release or “Hall of the Mountain Grill”, marking a break with the heavy sound of the past three albums, but still scoring a satisfactory sales figure. Heavy guitar riffs were still present here an there, but the general sound had moved to a more symphonic concept. Two of the most lastingly popular songs of the band were first released on this fourth release: “You’d better believe it”, that has since seen many re releases in varying forms and, in a new interpretation, appeared on the bands most recent release “Blood of the Earth” again. The other being “Lost Johnny”, a Lemmy composition that would gain greater fame by later versions performed by Motorhead, (At least a dozen rock bands made covers of it through the years)
Restless millionaire workaholic Robert Calvert had already disappeared, but the super-triangle Brock-Turner-Lemmy held for the moment and 1975 saw the release of “Warriors on the Edge of Time”, by many hawkfans considered one of their best. Not only did the band achieve an atmosphere of being a million light years out in space with confidence, but also the first appearance of science fiction writer Michael Moorcock added some real scary element with two pieces of stage performed poetry in “Dictator of the Universe’ style. The band’s second most successful single, “Kings of Speed” was also featured on the album, as well as a most impressive bass guitar master class by Lemmy laid down in “Opa Loka”, (It would prove to be his last for the band). The Album reached No. 13 position in the British LP chart, the highest that any of their studio albums would ever achieve, (Space Ritual had topped at No. 9).
But, by end of the year the band found itself in a crisis, from which it would only fully reemerge after 4 years. First blow was the sacking of bass player Lemmy, to which the band was forced after Lemmy was caught, during a North American tour, at the Canada/US border in possession of amphetamines. To make matters worse, in the indictment the amphetamines had changed to “Cocaine”, a much more serious offense. In later “Motorhead mythology” it was stated that Lemmy had left, but the truth was that he was indeed sacked. Anyway, musical differences with front-man Dave Brock had been brewing for a while and a split-up seemed inevitable in any case.
1976 sees the release of “Astounding Sounds, Amazing Music”, one of the worst received productions of their entire career, and with reasons, most hawkfans agree that it is indeed lacking the usual Hawkwind creativity. Tensions between Nik Turner and the rest of the group, which had been steadily building up during the years, finally lead to the departure of the eccentric Saxophonist.When also stripdancer/mothergoddess figure Stacia leaves in order to embark on a marriage, most critics agreed that Hawkwind was all but done for. Still, the next year sees the release of the album “Quark Strangeness and Charm” as well as the return of Robert Calvert, giving a new boost to the band’s creativity.
Troubles are however far from over, and a conflict with the record company leads to the band packing up with the label. Legal troubles resulting from this move makes for that the 1978 album “25 Years on” couldn’t be released under Hawkwind and the band temporarily changed its name to “Hawklords”. Also, now the age of Disco music had made its inroads for several years and interest of youngsters in serious music had radically diminished. In this case such influence made itself felt in the sense, that Hawkwind albums, as well as those of other surviving psychedelic bands, hardly ever managed to enter the upper fifty of the album charts any more.
But, some light began to glare on the horizon also, by now the punk movement had made its impact and not a few of the new outfits mentioned Hawkwind as a major influence, - Nowadays the group is seen as a major factor in bridging the gaps between the Hippie, Punk and Metal subcultures -. Secondly, the quick rise to fame of Lemmy’s new outfit “Motorhead” Also did much to renew interest in the band. Their last 70’s album, “PXR5”, although selling only modestly well, is now considered by many as one of the finest and the band had some reason to go into a new decade with confidence.


THE 1980’S: ESTABLISHED AS A MAJOR FORCE OF SPACE ROCK.

Had PXR5 indicated a return to the heavier sound of the early seventies, this line was not followed up in the 1980’s, certainly not with its first production, “Levitation”., which features songs of the more timid kind, but at least with one real Hawkwind to-be-classic, “Who’s Gonna Win the War” an elaboration on the cold war which was quickly approaching its end.
During the eighties, the band produced 6 full length studio albums and two live recordings. According to most specialists in the field among them was none of the bands top performances, which were either made in the seventies or later in the nineties, but consistency was clearly not lacking, now having established an easily recognizable, albeit not so easily accessible, Hawkwind style. For many the 1985 recording “Chronicles of the Black Sword” was the most interesting of the decade, featuring lyrics by Michael Moorcock, dealing with a fantasy world not unlike the one as laid down by Tolkien in the Lord of the Rings trilogy.
More important about these 10 years in the bands existence was that Dave Brock began to use his by now immense archive of earlier recordings, and licensing various labels to release them as compilations. Most of them being brought on the market under the name “Weird Tapes”. Another project of this period was the “Friends and Relations” releases, albums about half filled with previously unreleased Hawkwind trackt, complemented with recordings of befriended artists and projects of former band members. Some real high quality tracks can be found on all of the “F & R” records.
Especially in the early eighties frequent line-up changes remained a common feature of the band, but by now even the critics had learned that this by no means meant the band itself was unstable. With the other dominant personalities, Turner, Lemmy and Calvert all gone now, (As well as the high priest of drums, Ginger Baker, who had a brief period as a band member), it became ever clearer that Hawkwind was more or less equal to Dave Brock, and everything else was revolving around his brilliant but somewhat difficult to work with character. As the decade progressed even personnel stability seem to have finally come to the band with the appearance of the two longest lasting, (besides Brock), Hawkwind members, Richard Chadwick on drums and Alan Davey on bass. Chadwick, joining in 1989 is still there and has served the band continuously for 21 years now.. Hawk-veterans like Lloyd Langton, Simon House and Nik Turner also kept reappearing on and off.
It seemed neither to hurt nor to worry the band very much that their albums no longer made it into the higher parts of the LP charts, (for part this was certainly caused by ever increasing competition on the record market), they were only vehicles for communication with the regular fan base of the group in periods that it did make live appearances in their area. More than most in the music scene, Hawkwind has been and continued to be a live act, relentlessly touring and almost always on the road, also making frequent appearances at festivals.
One fact about the decade should however not remain unmentioned as it says much about the band’s philosophical and political background,.and that is the bands regular participation in the yearly summer solstice festivities. Ever since 1973 a solstice festival had been held at the famous Stonehenge site. An ancient British law says that if an open air activity is tolerated by the authorities for 12 subsequent years, that means as much as being licensed to do so forever. However, by the early 1980’s numbers of festival visitors had been steadily on the increase, with druidist-shamanist from all over Europe starting to join in, leading to concerns that the masses of people might do damage to the monument.. So, at the twelfth annual festival in 1984 a large police force was sent to prevent festival goers from reaching the monument. This led to one of the larger riots in British history with many people getting wounded and lots of rolling stock of festival visitors and band materials, including some of Hawkwind’s, getting destroyed. Now fortunately the festival is allowed again for several years, and all the stories of damage being done, mainly fuelled by ultra conservatives that saw in the festival not the spiritual happening it actually is but just an outrage of freaks, have been proven to be utterly unfounded.


THE NINETIES: NEW VIGOUR AND STABILITY

Line up changes do not disappear as a feature of the band altogether, but for most of the 1990’s the core of Hawkwind remains stable: Brock on guitar and synthesizers, Davey on bass and Chadwick on drums. Davey temporarily disappears at the end of 1996 to devote more time to his own projects, to which in 1998 outrageous black metal outfit “Meads of Asphodel” was added, frequently covering Hawkwind songs. During his absence he is replaced by the group’s former vocalist Ron Tree which in the meanwhile has picked up the bass. Another interesting personnel detail is found in Bridget Wishart who, remaining with the band from 1989 until the end of 1992, was the only female band member so far.
Whether it is the more stable line up or that reasons must be searched in something else, but compared with the previous decade, the nineties showed a remarkably increased vigor, dynamism and creativity. During the period, the band turns out a remarkable number of releases: 7 studio albums, 4 live recordings, and no less than 9 compilations and archive albums. Several of the releases are seen as belonging to the bands best ever.
The decade starts out well immediately with the 1990 release of the studio album “Space Bandits”. The most remarkable track of this production is certainly “Black Elk Speaks”, a recording of the famous American Indian Chief’s speeches on the abuse or the earth and its resources, background accompanied by music of the band. Greater concern with politics, especially in the field of nature conservation, also shows from the tracks “Birds” and “TV Suicide” Political engagement keeps returning regularly in their lyrics during the 1990’s, most notably on the 1993 album “It’s the Business of the Future to be Dangerous”
For the further, the by now established pattern of Hawkwind changes very little during the decade: Frequent and intensive touring, festival appearances and a general image which is firmly grounded in the culture of the free-thinking far-left. All together it does much to forge the already strong fan following and making more than a few adherents among the younger generation.

THE NEW MILLENIUM: AGEING WITH THE BAND.

Productivity of the band falls of somewhat during the first decade of the new millennium, with only 3 full length studio productions being released during the entire period. This somewhat meager harvest is however compensated to a certain extent, by the 4 live- and 5 compilation/archive albums which see the daylight during the period.
First release is the 2000 “Spacebrock”, which, although having been brought on the market under the name Hawkwind, is in fact a solo project of front man Dave Brock, featuring songs in general more electronic of nature than the standard Hawkwind concept
The other two albums of this period, “Take me to Your Leader” (2005) and “Take me to Your Future” (2006), however solid and recognizable they may be, contain little of sensational or innovative nature, so I will refrain from elaborating on them here.
For sure the event of the decade was the 2009 celebrations of the band’s fortieth anniversary, which saw much partying and festivalling as well as an extended anniversary tour.


2010, WHAT ABOUT THE FUTURE?

Yes, sure there are the Stones, Status Quo and a handful of others who managed to do the same, but in general it is not to much to say that Hawkwind’s over 40 years of producing existence and continuity are rare in the world of rock music. Those who take the effort to have a good look through the band’s very large official website and sniff in the confidence demonstrated there in many places, clearly will get the idea that the end may be far not be in sight yet.
The year 2010 already saw several important events concerning the band, the first being them signing up with Eastworld records, a label, that might be more fitting to the outfit as several of their previous recording companies. Secondly a brand new studio album was released on the new label on 21 June this year “Blood of the Earth”. Again a solid an very recognizable Hawkwind record, without containing very shocking new concepts. The record was in fact finished much earlier this year and Eastworld would have liked to release it in early April. But, completely in line with the bands spiritual preferences, release was postponed until the 21st of June, which is not surprisingly the date of the summer solstice.
A third important happening is taking place right these days, the 3 day “Hawkfest” festival at the Isle of Wight, (again not surprisingly the spot were the band made a sensational, uninvited inroad at the famous festival, now exactly 40 years ago to date). Apart from Hawkwind itself, more than a score of bands, in one way or another related to the group, are scheduled to perform, among them names like the Huw Lloyd Langton Group, Tribe of Cro and so on.
To end this biography with, I would like to speculate a little on the future. Front man and driving force of the band Dave Brock is now nearing 70 years of age, and as he is human, just as all of us, he doesn’t have the eternal live. Now, what will happen following his departure to the Eternal Hunting Fields? Will the band survive that and continue its existence or will it call it quitters as nearly all in such a situation have done previously? I have the idea that in Hawkwind’s case the former might happen, making them utterly unique in the world of rock. But than who will be able to continue the work of such an enigmatic figure as Dave Brock? I think the duo Chadwick/Davey would be the most logical choice for such, but with Hawkwind you can never know for sure…….
In any case, lets hope that Dave may remain with us in good health for a good many years to come, which would make this question hypothetic for the time of being !!!!!!


Gletscherwolf, August 2010.




APPENDIX A: LIST OF OFFICIAL HAWKWIND RELEASES


Beware of the fact that this appendix does not contain a complete listing of all releases of the band, but only those recognized as official releases by the band itself. Total productions exceed the releases in this list by far more than 100%. Those who are interested in the complete picture, a list of all 211 known album releases, (Live & Studio) can be found here: http://home.clara.net/adawson/list.html. Those who want to have a further look at all the singles and EP releases, have a look here: http://home.clara.net/adawson/singles/singles.html And in case you are not yet completely dazzled by now and want to know what individual members of the band did in their free time, all solo releases are over here: http://home.clara.net/adawson/solo/solo.html
Have fun with it!


Official Studio Releases


1970 Hawkwind
1971 In Search of Space
1972 Doremi Fasol Latido
1974 Hall of the Mountain Grill
1975 Warrior on the Edge of Time
1976 Astounding Sounds, Amazing Music
1977 Quark, Strangeness and Charm
1978 25 Years On — Hawklords
1979 PXR5
1980 Levitation
1981 Sonic Attack
1982 Church of Hawkwind
1982 Choose Your Masques
1985 The Chronicle of the Black Sword
1988 The Xenon Codex
1990 Space Bandits
1992 Electric Tepee
1993 It Is the Business of the Future to Be Dangerous
1995 White Zone — Psychedelic Warriors
1995 Alien 4
1997 Distant Horizons
1999 In Your Area — live and studio
2000 Spacebrock — Dave Brock solo
2005 Take Me to Your Leader
2006 Take Me to Your Future
2010 Blood of the Earth



Official Live Albums


1973 Space Ritual
1980 Live Seventy Nine
1986 Live Chronicles
1991 Palace Springs
1994 The Business Trip
1996 Love in Space
1999 Hawkwind 1997
2001 Yule Ritual
2002 Canterbury Fayre 2001
2004 Spaced Out in London
2008 Knights of Space

Official Compilations & Archive Albums


1980 The Weird Tapes (1966–1983)
1983 The Text of Festival (1970–1971)
1983 Zones (1980 and 1982)
1984 This Is Hawkwind, Do Not Panic (1980 and 1984)
1984 Bring Me the Head of Yuri Gagarin (1973)
1984 Space Ritual Volume 2 (1972)
1985 Hawkwind Anthology (1967–1982)
1987 Out & Intake (1982 and 1986)
1991 BBC Radio 1 Live in Concert (1972)
1992 The Friday Rock Show Sessions (1985)
1992 Hawklords Live (1978)
1992 California Brainstorm (1990)
1995 Undisclosed Files Addendum (1984 and 1988)
1997 The 1999 Party (1974)
1999 Glastonbury 90 (1990)
1999 Choose Your Masques: Collectors Series Volume 2 (1982)
1999 Complete '79: Collectors Series Volume 1 (1979)
2000 Atomhenge 76 (1976)
2002 Live 1990 (1990)
2008 Minneapolis, 4 October 1989 (1989)
2008 Reading University, 19 May 1992 (1992)
2009 Live '78 (1978)



APPENDIX B: LIST OF HAWKWIND PERSONNEL


Anderson, Andy-------Drums-----------------------------------------1983
Anderson, Dave--------Bass Guitar----------------------------------1971
Bainbridge, Harvey----Bass Guitar----------------------------------1978-1984
----------------------------Keyboards, Synthesizers-------------------1984-1991
Blake, Tim--------------Keyboards, Synthesizers-------------------1979-1980
----------------------------------------------------------------------------2000
----------------------------------------------------------------------------2002
----------------------------------------------------------------------------2007-Present
Baker, Ginger----------Drums-----------------------------------------1979-1980
Brock, Dave------------Guitar, Vocals, Synthesizers--------------1969-Present
Brown, Arthur----------Vocals----------------------------------------2001-2003
Calvert, Robert---------Vocals----------------------------------------1972-1973
----------------------------------------------------------------------------1976-1978
Captain Rizz-----------Vocals-----------------------------------------1997-2000
Chadwik, Richard-----Drums-----------------------------------------1989-Present
Crimble, Thomas------Bass Guitar-----------------------------------1970
Dead Fred--------------Keyboards, Synthesizer---------------------1983-1984
Dearmer, Clive--------Drums-----------------------------------------1984
Detmar, Dell-----------Keyboards, Synthesizers--------------------1971-1974
Dikmik------------------Keyboards, Synthesizers-------------------1969-1971
Griffin, Martin---------Drums-----------------------------------------1978
----------------------------------------------------------------------------1981-1982
Hale, Keith-------------Keyboards, Synthesizers-------------------1979
Harrison, John----------Bass Guitar----------------------------------1969-1970
Hone, Niall-------------Guitar-----------------------------------------2009-Present
House, Simon----------Keyboard, Synthesizers--------------------1975-1978
----------------------------------------------------------------------------2001
---------------------------Violin-----------------------------------------1989-1991
----------------------------------------------------------------------------2000
----------------------------------------------------------------------------2002
Hugget, Jez-------------Saxophone-----------------------------------2001-2002
King, Simon------------Drums-----------------------------------------1973-1979
Lloyd Langton, Huw—Guitar-----------------------------------------1970
----------------------------------------------------------------------------1979-1988
----------------------------------------------------------------------------2001-2002
Moorcock, Michael---Vocals-----------------------------------------1975, 1981
Mr. Dibbs---------------Bass Guitar-----------------------------------2007-Present
Ollis, Terry-------------Drums-----------------------------------------1969-1970
Powell, Alan-----------Drums-----------------------------------------1975-1976
Richards, Jerry---------Guitar-----------------------------------------1995-1999
Rudolph, Paul----------Bass Guitar-----------------------------------1976
Sevink, John-----------Violin------------------------------------------2009
Shaw, Adrian-----------Bass Guitar-----------------------------------1977
Slattery, Mick----------Guitar-----------------------------------------1969
Stuart, Jason------------Keyboards, Synthesizers-------------------2004-2008
Swindells, Steve-------Keyboards, Synthesizers--------------------1978
Thompson, Denny-----Drums-----------------------------------------1984-1987
Tree, Ron---------------Vocals-----------------------------------------1995-1996
---------------------------Bass Guitar-----------------------------------1997-2000
Turner, Nik-------------Saxophone------------------------------------1969-1976
----------------------------------------------------------------------------1982-1984
Wishart, Bridget-------Vocals-----------------------------------------1989-1991



APPENDIX C: HAWKWIND ON THE INTERNET

For those who after reading through this biography have a craving of digging further in the phenomenon Hawkwind, through visiting the webpage listed below, you will find a comprehensive list of all Hawkwind and Hawkwind related websites, as well as links to the personal websites of many of its past and present members.

http://home.clara.net/adawson/links/links.html


Source : Gletscherwolf 2010